The agung is a musical instrument made of two large, wide-rimmed gongs that hang vertically. It is used by the Maguindanao, Maranao, Sama-Bajau, and Tausug people of the Philippines as part of kulintang ensembles, where it helps create music. The agung is also commonly found among other groups in areas such as Palawan, Panay, Mindoro, Mindanao, Sabah, Sulawesi, Sarawak, and Kalimantan, where it is an important part of the agung orchestra.
Description
The agung is a large, heavy gong with a wide edge, shaped like a kettle gong. It produces a deep, low sound in the kulintang orchestra and weighs between 13 and 16 pounds. However, some agungs can weigh as little as 5 pounds or as much as 20 to 30 pounds, depending on the metal used, such as bronze, brass, or iron.
Although the agung’s diameter is smaller than the gandingan’s, measuring about 22 to 24 inches (560 to 610 mm) in length, it has a much deeper, curved edge called the takilidan. This edge is 12 to 13 inches (330 mm) wide, including the knob at the top.
Agungs are hung vertically above the floor, at or slightly below waist height. They are suspended by ropes attached to structures such as strong tree branches, house beams, ceilings, or gong stands.
The larger, lower-pitched gong of the two is called the pangandungan by the Maguindanao people and the p'nanggisa-an by the Maranao. It is played on the musician’s right side and provides the main part of the music, often played on the strong beats of the rhythm.
The smaller, higher-pitched gong, which is thicker, is called the panentekan by the Maguindanao and the p'malsan or pumalsan by the Maranao. It is placed on the player’s left side and is mainly played on the weaker double and triple beats of the rhythm, creating a contrast with the pangandungan’s part.
Origins
Experts believe the agung originated in Indonesia. The name "agung" or "agong" comes from the Malay word "agong" and the Indonesian or Javanese word "ageng."
More evidence is found in the writings of British explorer Thomas Forrest from the 1770s. He noted that Filipinos liked musical gongs that came from Cheribon on Java and had round knobs.
Technique
The agung is usually played while standing next to the instrument. The player holds the top edge of the flange with the left hand and strikes the knob with the right hand. The mallets, called balu, are made from short sticks about half a foot long. One end of the sticks is covered with soft but strong material, such as rubber. Players use these mallets to strike the agung in a way similar to how a brass tom-tom is played.
When playing, players create a series of quick, short sounds by using dampening techniques. After striking the knob, the sound is stopped by placing the hand, knee, or mallets on it. If one player uses two gongs, the assistant who holds the lower-pitched gong places it at an angle and covers its surface with their hands to control the sound.
New methods of playing the agung have recently been developed. Some players now grasp the boss instead of the flange to dampen the sound. Others strike the busel with the wooden end of the beater while using the opposite end to hit the surrounding gong surface. This method, called katinengka, is used by musicians from downriver areas to create metallic sounds during kulintang performances.
The agung can be played in different ways depending on the number of players, gongs, and mallets. Two players may each hold their own gong, or one player may use both gongs. When playing alone, the agung player may strike both gongs, with the higher-pitched gong held face-to-face and the lower-pitched gong held at an angle by an assistant for support. Alternatively, the player may use only one gong. This single-gong style is common among downriver Maguindanaos in Simuay, who view it as an older method. In this style, the higher-pitched gong is considered the lead gong and is more important. An example of this is when single-gong agungs are used during a tagunggo piece.
The number of mallets used can also vary. Most performances use only one mallet, but other techniques may require two mallets, one in each hand. A more complex method uses only one balu but requires the player to strike the gongs in reverse order of their pitches. This technique, called patuy, is typically used only during competitions or exhibitions, along with the two-mallet method.
Uses
The agung is a musical instrument used in the traditional kulintang ensembles of the Maguindanao and Maranao people. It supports the melody played on the kulintang by using simple patterns and rhythms that fit together. The patterns played on the agung are more flexible than those used on other instruments, such as the babendil or dabakan. Players can change the patterns freely, as long as they follow the rhythm of the music. The length of the patterns may vary depending on how they match the melody being played. A fast playing style is often used to show skill during performances.
In both Maguindanao and Maranao cultures, the agung is seen as a symbol of masculinity. To be a skilled player, a person must have strength, stamina (the ability to play quickly without mistakes), and endurance. Players must also be able to create new patterns during a performance to show musical talent. If a player repeats the same patterns, the audience may find the music boring.
Because playing the agung requires a high level of skill, players sometimes compete during performances. They may use tricks to make it harder for others to keep up with the rhythm. For example, if one player plays very complex patterns that are hard to follow, or if another player adds too many decorations to the music, the player who struggles may feel embarrassed. Players usually take turns playing the agung after each piece, but during competitions, they may switch places during a performance. Sometimes, players also swap roles with the dabakan after two pieces. Even though they compete, players understand they are working together to support the music.
In addition to its role in kulintang ensembles, the agung has other uses in Maguindanao and Maranao communities. It is used to warn people about dangers, announce important events, or signal the time of day. For example, in the past, a sultan would strike the agung to call people to meetings or to mark the start of the fasting month of Ramadan. The agung would ring at three in the morning to signal the time to eat or at sunset to end the day’s fast. Because the agung makes a deep, loud sound, some people believed it had magical powers. During earthquakes, locals would strike the agung in a fast, loud rhythm called baru-baru, thinking the vibrations might stop the shaking.
The agung is also used in solo competitions among the Maguindanao. Unlike other groups that compete in groups, the Maguindanao hold contests to find the best agung player. A specific rhythm called Tidto is used for these contests because it allows the agung to be the center of attention. Players usually perform two or more versions using the three techniques described earlier.
In some cases, the agung is used to serenade young, unmarried women during kulintang performances. In Maguindanao culture, certain rhythms like duyog and sinulog a kamamatuan are used for this purpose. Another rhythm, Tidto, is rarely used for serenading because it is often played by older women.
Similar agung instruments
In the Sulu Archipelago, the kulintang orchestra uses three low-sounding agungs instead of two. These agungs are used as accompaniment in Tausug, Samal, and Yakan ensembles. For the Tausug and Samal, the largest agung with a wide turned-in rim is called the tunggalan or tamak. This instrument provides slow, regular beats, similar to the Maguindanaon pangandungan and Maranao p’nanggisa-an. The smaller pair of agungs, called the duahan, beat in a different rhythm with the tunggalan/tamak. These are further classified: the wider-rimmed duahan is called the pulakan, and the narrower one is called the huhugan or buahan by the Tausug and bua by the Samal.
Agungs also play a major role in agung orchestras—ensembles made of large hanging, suspended, or held gongs with knobs. These gongs act as drones without any melodic instrument like a kulintang. These orchestras are common among Indigenous Philippine groups such as the Bagobo, Bilaan, Bukidon, Hanunoo, Magsaka, Manabo, Mangyan, Palawan, Subanun, Suludnon, T’boli, Tagakaolu, Tagbanwa, and Tiruray, as well as in regions of Kalimantan and Indonesia (Iban, Modang, Murut) and Sabah and Sarawak in Malaysia (Bidayuh, Dusun, Iban, Kadazan, Kajan, Kayan, and Murut). In these places, agung orchestras are more common than kulintang-like orchestras. The way these orchestras are made and tuned varies between groups.
For example, the Hanunoo of Mindoro have a small agung ensemble with only two light gongs played by two musicians on the floor in a simple duple rhythm. The Manobo have an ensemble called an ahong, which includes 10 small agungs hung vertically on a triangular frame. Three musicians play this ensemble: one stands and plays the melody, while the others sit. The ahong is divided by purpose: higher-pitched gongs (kaantuhan) carry the melody, three to four lower-pitched gongs (gandingan) play repeating patterns, and the lowest-pitched gong (bandil) sets the tempo.
The Tiruray call their agung ensemble a kelo-agung, kalatong, or karatung. This ensemble has five shallow bossed gongs of different sizes, each played by one person. The smallest, called the segaron, provides a steady beat. The Manobo sagabong ensemble follows a similar format, with five small gongs each played by one musician using rubber mallets. Each musician plays a unique pattern that fits together with others. The T’boli and Palawan have similar agung ensembles: the T’boli ensemble has three to four agungs, with two to three called semagi that play variations, and another agung called tang that provides a steady beat. The Palawan call their ensemble, made of four gongs, a basal. It includes one to two large humped, low-sounding agungs and a pair of smaller humped, higher-pitched sanangs that make metallic sounds. The Subanon also have an agung ensemble similar to the Tiruray karatung, called a gagung sua.
Both the Bagobo and the B’laan refer to their agung ensemble as a tagunggo, a set of eight metal gongs suspended on a harness. This is played by two, three, or more people. Seven smaller gongs create a running melody, while the eighth, largest gong beats in a different rhythm to produce a specific pattern. The Manabo have an agung ensemble similar to the tagunggo, called a tagungguan.
The Kadazan-Dusun, who live on the western coast of Sabah, call their agung ensemble a tawag or bandil. It includes six to seven large gongs arranged in shoreline groups and 7–8 large gongs for those in interior valleys. In southwestern Sarawak, Bidayuh agung ensembles have nine large gongs divided into four groups (taway, puum, bandil, and sanang). In comparison, Iban agung ensembles in Sarawak, Brunei, and Kalimantan are smaller. These ensembles may perform alone or with one or two drums played with hands or wooden sticks. They can sound the same at the same time or fit together in a pattern with the gongs. Agung orchestras often perform at social events such as agriculture rituals, weddings, victory celebrations, healing ceremonies, rituals for the dead, entertainment for visitors, and other community events.